Philosophy must understand the manifestation of ideas through particular things, with the history of art as a series of variously emphasized relations of the real to the ideal. Art is the positive objectification of the spirit of nature that is within human beings, analogous to nature’s own generation of phenomena, a crystalline, symmetrical totality.
“By what power is the soul created together with the body, at once and as if with one breath?” – Friedrich Wilhelm Joseph Schelling
Situated in relation
There exists a tension between the conceptual as manifest in art and the incipient foundation of unconscious elements. Within a dispersed finite existence, self-identity provides an indirect conduit to the ineffable.
“All means are sacred when they are dictated by inner necessity.” – Wassily Kandinsky
The ideal of disembodied enlightenment is found lurking in cryptic ground patterns, even as expectations slant the determinations. Time necessarily involves temporal relations having an intrinsic direction.
“There is a kind of memory in nature: what happens now is influenced by what happened before.” – Rupert Sheldrake
Stealthily positioned in a postmodern landscape, infinite variability prevails in a field of similarity as aspects of a private sectarian world.
“So you have no frame of reference here, Donny. You’re like a child who wanders into the middle of a movie and wants to know…..” – Walter Sobchak
Higher order emergence
Considering the total liberty available in a defined system, an elaborately complicated labyrinth can also be coherent. What improved changes might be catalyzed for future visual organizations?
“In open systems we have not only production of entropy due to irreversible processes, but also import of negative entropy.” – Ludwig von Bertalanffy
Characterizing a transcendental philosophical operation, the assertions arising out of the ‘natural attitude’ are bracketed in abeyance. The natural attitude presumes both an exterior existence in which the objects of experiences are thought to abide and the validity of the appraisals about those objects. Merleau-Ponty avows that by bracketing such presumptions out of consideration, phenomenology divulges a “direct and primitive contact with the world.”
“In the natural attitude, in which for ourselves and for others we are called and are humans, to everything worldly there belongs the being-acceptedness: existent in the world, in the world that is always existent beforehand as constant acceptedness of a basis. So also man’s being is being in the world that is existent beforehand.” – Edmund Husserl
Intuitive manifestation furnishes aesthetic access as sometimes things workout well from start to finish. Indexical diptychs illustrate gestalt bindings used to acquire and maintain meaningful perceptions surrouned by habitual uncertainty.
“This world is all one continued vision of fancy or imagination.” – William Blake
The present experience always contains a remembered past and a predicted future within its brevity. Retention and protention are structural features of any conscious act that differ from recollection and expectation. In one case, memory is in the service of the present providing a frame of coherence, while in the other memory is experienced as events that are finished. Therefore the recollected event is not conceived as occurring at this time, but functions as history in relation to the now present.
“Things co-exist in space because they are present to the same perceiving subject and enveloped in one and the same temporal wave. But the unity and individuality of each temporal wave is possible only if it is wedged in between the preceding and the following one, and if the same temporal pulsation which produces it still retains its predecessor and anticipates its successor.” – Maurice Merleau-Ponty
The abstract plays an important role in both everyday existence and aesthetic research. From certain enlightened viewpoints, abstractions constitute higher truths than those embodied in mere concrete appearances. The artist is able to negotiate this veracity discrepancy, as imagination once articulated in material form becomes an authentic component of actuality.
“The strive after absolute appearance demands greater capacity for abstraction, more freedom of heart, [and] more vigor of will than Man needs if he confines himself to reality.” – Friedrich Schiller
Pointing to a certain state of affairs, here we have a diptych of instrumental indexicality. It is nice to pile up a manifold range of conceptual ideas into an integrated visual expression.
“Not only the boundaries between the different arts, but the boundaries between art and everything that is not art, are being obliterated.” – Clement Greenberg